#TBT - Grassroots Distribution: Defining Grassroots

Last week, we revisited Josh Penn and Michael Gottwald's white paper on Grassroots Distribution to look at the challenges posed by "grassroots distribution." This week, we take one more step back to define what "grassroots" means, especially in the context of independent filmmaking. 

We got close to a definition by remembering Josh and Michael's claim that, "in order for that film to stay alive, it needs to be supported by constant work, strategy, effort, enthusiasm on the part of the filmmaker and the filmmaker's team," but that is just the beginning. 

For most people, and for Josh and Michael initially, grassroots has well, roots, in community organizing as well as social and political movements. In order to make more sense of an elusive term, Josh and Michael interviewed Jeremy Bird, 2012 Obama For America Field Director and student of Marshall Ganz. According to Jeremy, grassroots operations provide:

1. Access to data and information. A surprising first descriptor, but in the context of political campaigns, it makes sense. Before the Obama campaign of 2008, campaign workers did not have access to the information they do today, which makes the 2008 phenomenon as much about the technology that was suddenly available as it was about a sea change in enthusiasm about a candidate.
2. Real responsibility and goals at the local level. In other words, a palpable sense of accountability. Trusting that the larger goal would be met not by a few leaders at the very top of a hierarchy, but by each ground-level operation spread across the map doing its part to meet its own goal. And by endowing people present at that ground level with responsibility.
3. The ability to scale and make your campaign accessible. Going off of the last descriptor, this means that you can take the campaign anywhere. It is not tied to some antiquated or traditional geographic centers of power. It is nimble and can move, engaging people wherever it is. 
4. A fundamental belief that volunteers can change the outcome. All of this grassroots, community organizing bluster is just a phony brand that is not worth applying unless you actually do subscribe to the belief that a volunteer force—someone there not motivated by wages—can move the needle towards your goal. With self-distribution of films, volunteers may be all you have available, so it’s a definite they would make a difference.

What does this mean for independent filmmakers? It could be as re-simply stated as:

1. Access to data and information. Build a web presence: website, social media, available press. Apply Google analytics. Find out where your audience is and make sure you stay in touch with them. Find out how much it costs to do that, and be sure to use your resources efficiently. Knowing where your audiences are and where your money goes enables you, the filmmaker, to make advantageous partnerships with people who can and want to help you get your movie out there. 
   • Caveat: Data is hard to come by. Check out Colin Whitlow's writings about his Film Finance Index and quest for data transparency, and keep an eye out for a larger industry demand for better reporting to independent filmmakers. 
2. Real responsibility and goals at the local level. Assemble a team of people to support your film in myriad ways - on set, in the community, online, in the press. Trust those people to "spoke out" from your film's story to find access points and alignments across media channels and audience influencers. 
3. The ability to scale and make your (film) accessible. Bring your film to the people to help your career grow! Stewart Thorndike did this with LYLE - she released a feature for free to raise money and awareness for her next feature and it worked! Check out her interview with producer Alex Scharfman here and here. 2014 CRI Fellow Artel Great is also following this principle by bringing multicultural films to multicultural audiences via the Project Catalyst mobile app!
4. A fundamental belief that volunteers can change the outcome. Make your audience your advocates! Stewart did this by converting her free-to-watch LYLE audience to PUTNEY backers. The BEASTS OF THE SOUTHERN WILD team made the immediate community the first audience and the strongest advocates. FORT TILDEN's small, committed crew converted their pride in the film into broad buzz across personal networks, creating a loosely-connected but consistently passionate conversation around the film. As Josh and Michael write, "The extent to which a grassroots entity is successful as such depends not on the fulfillment of these basic characteristics but rather on how each entity or person involved is respected, empowered, included, and, in turn, takes ownership of their part in expanding the movement."

Remember: "The structure of a grassroots entity takes the form of the Snowflake Model, with each module of organized activities both an extension from another and its own center of many others." Don't be afraid of branching out beyond your film and its narrative. A film can be many things to many people. 

ChemStuff

Cargo Collective

alk back! Have you applied these principles to your own work? What do you do to motivate the communities (paid/unpaid, professional/bystander, etc.) around your film?

CRI Fellow Artel Great Talks Project Catalyst & the Dilemma of Multicultural Media Distribution

2014 CRI Fellow Artel Great is a thought leader on media visibility and an advocate for the improved representation of both multicultural content creators and audiences. As a PhD candidate in Cinema Studies at NYU, a filmmaker with degrees from UCLA, and a CRI Fellow, Artel has been tirelessly instigating positive change on both sides of the camera.

During his CRI Fellowship, he has dedicated himself to Project Catalyst - an app that delivers content produced by multicultural filmmakers to multicultural audiences. Through Project Catalyst , Artel is working to give voice to often-marginalized artists and to satisfy a largely underserved audience's demand for better, more resonant entertainment . In this interview, writer/director/producer Kiara C. Jones talks with Artel about Project Catalyst - from the philosophy behind its development to how to download the app for free. 

Artel claims that "visibility is power" and we wholeheartedly agree. If you do, too, share the interview and download the app! 

Do Multicultural Movies Make Money?

Why does it seem as if Hollywood is always surprised when a Black film comes in #1 at the box office? The most recent example being, No Good Deed starring Idris Elba and Taraji P. Henson. The film's $24 million showing out earned the blockbuster superhero fantasy film Guardians of the Galaxy.  

When will Hollywood ditch the fallacious logic that says diverse films don't sell?  A

nd when will they begin to see the value in multicultural experiences, images, and stories?  According to an insightful study conducted by the Ralph J. Bunche Center for African American studies at UCLA, films that have more diversity in the cast bring in more cash at the box office.  "Those [films] with a relatively high amount of [multicultural] involvement (21–30 percent) on screen posted the highest median global box office receipts ($160.1 million). In contrast, films with the least minority involvement (10 percent or less) posted much lower box office receipts ($68.5 million)."

So why the counterfeit surprise when Black films do well on opening weekend?  If Hollywood is truly about the bottom line (as most will readily admit) how can such stark numbers be overlooked?  Seems odd for billion dollar corporations to be so naïve.  And if it's not an oversight, perhaps a lack of social value would be more appropriate?

Throughout our national tour to launch the Project Catalyst App, we have encountered many valuable lessons. We got off "On the Good Foot" in New York City.  We engaged with diverse communities in Chicago about "How to Solve 2 of the Biggest Problems in Multicultural Media Distribution."  And in Los Angeles we gathered feedback and put all of our ideas to the test launching the app in the heart of Hollywood on the backlot at Raleigh Studios.  Our goal was to determine once and for all if multicultural audiences would turn out to support diverse underground artistry.  The red carpet event was sophisticated and vibrant.  Guests of all colors and ethnicities came together and shared knowledge and ideas.  I designed the event as part industry mixer, part app presentation, and part film screening in the studio’s Charlie Chaplin Theater. Guests were treated to the finest libations and the delectable soul fusion fare of Artistic Endeavors-LA.

The turnout was incredible. So far Los Angeles has been our largest event resulting in the most app downloads in a single outing.  Way to represent!  Attendees included celebrities Nelsan Ellis (Get On Up, True Blood) and Craig Robinson (The Office), as well as studio execs, producers, actors, directors, musicians, entrepreneurs, journalists, and other art enthusiasts. 

During my presentation, I encouraged the audience to recognize their own agency to act and change the images they consume.  I reminded them that we are all apart of a bigger story that has to do with reinvesting and making a contribution to the culture.  Above all, the visual media we consume should reflect us, relate to us, stimulate and energize us to be our very best.  That’s what it’s all about. 

So is there really a market for multicultural media?  Absolutely.  Are you kidding? Stevie Wonder could see it and show it to Ray Charles!  In fact, if the tremendous success of the Los Angeles App launch showed me anything it’s this--- when we come together we can make amazing things happen, and when we are aware of better entertainment options that reflect our true potential we will support it. 

Multicultural audiences have always been here.  Ask Oscar Micheaux, Melvin Van Peebles, Spike Lee, or even Tyler Perry for that matter.  The question is when will Hollywood wake up and ditch their antiquated logic?  Who knows.  The most important thing is the Project Catalyst App was designed to bring a poetic solution to this fifteen year stalemate. 

Since August we’ve reached audiences on 6 continents across 22 countries— and counting.  If you haven’t downloaded the app get it free here.  If you have the app already, share it with a friend or family member.  Help make a positive contribution to spread high quality multicultural stories.

Use the comment section below and tell me if you agree or disagree that a multicultural media market exists.

Great ideas can change the world, but it takes great people like you to make it happen.